Print Quarterly, December 2017

Posted in books, catalogues, journal articles, reviews by Editor on December 5, 2017

The eighteenth century in the current issue of Print Quarterly:

Paul Sandby, The Fire of Faction. The Fly Machine for Scotland, 1762, etching (London: The British Museum).

Print Quarterly 34.4 (December 2017)

• Aaron M. Hyman, “Patterns of Colonial Transfer: An Album of Prints in Mexico City,” pp. 393–99.
“The rediscovery of an album of European prints in Mexico City promises to fill in some of the scholarly gaps by bringing to roughly 500 the number of extant, loose-leaf European prints in Mexico that survive from the colonial period—vastly more than scholars were aware of only a decade ago. . . The album is loosely organized chronologically and by national schools, with the earliest prints appearing at the beginning, followed by the eighteenth-century material that constitutes most of it.”
• Ann V. Gunn, “The Fire of Faction: Sources of Paul Sandby’s Satires of 1762–63,” pp. 400–18.
“On 23 September 1762, ‘The Butifyer, a touch on the times. Also a poor man loaded with mischief, or John Bull and his sister Peg . . . Likewise the Fire of Faction’ were announced in The Public Advertiser, the first of three of a series of seven satirical prints created by Paul Sandy (1731–1809) in late 1762 during the negotiations for the Treaty of Paris that ended the Seven Years’ War . . . This group, however, has never been examined as a whole before. This article discusses the context within which these prints were made and identifies the imagery and literary sources employed in them.”

N O T E S  A N D  R E V I E W S
• Louis Marchesano, Review of Kristina Deutsch, Jean Marot: Un graveur d’architecture à l’époque de Louis XIV (Berlin: De Gruyter, 2015), pp. 437–38.
• James Grantham Turner, Review of an issue of Casabella 856 (December 2015), dedicated to the Fondazione Querini Stampalia’s 2016 exhibition Giulio Romano’s I Modi and the Modi of of Carlo Scarpa and Alvaro Siza, which featured drawings by two modern architects with sexually explicit Italian prints from the sixteenth to nineteenth centuries, pp. 441–42.
• Antony Griffiths, Review of the exhibition catalogue Freyda Spira and Peter Parshall, The Power of Prints: The Legacy of William M. Ivins and A. Hyatt Mayor (New Haven: Yale University Press, 2016), pp. 468–70.

P U B L I C A T I O N S  R E C E I V E D

• Sharon Liberman Mintz, Shaul Seidler-Feller, and David Wachtel, eds., The Writing on the Wall: A Catalogue of Judaica Broadsides from the Valmadonna Trust Library (London: Valmadonna Trust Library, 2015), p. 462.
• Christien Melzer, ed., Im Zeichen der Lilie: Französische Druckgraphik zur Zeit Ludwigs XIV (Bremen: Kunstverein Bremen, 2017), pp. 462–63.
• Petra Zelenková, Jan Kupecký a ‘černé umění’ / Johann Kupezky (1666–1740) and ‘The Black Art’ (Prague: National Gallery, 2016), p. 463.
• Anna Schultz, Johann Gottlieb Glume (1711–1778): Das Druckgraphische Werk (Berlin: Galerie Bassenge, 2016), p. 463.
• Laura Moretti, Recasting the Past: An Early Modern ‘Tales of Ise’ for Children (Leiden: Brill, 2016), p. 463.

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